More than anything, watching Unitel Productions' "Inang Yaya" brings back memories of the late 80s and early 90s, where in our middle class compound during the heyday of perennial blackouts and coup d'état, our "yaya" would pull us off from playing the Nintendo Family Computer and force us to sleep in the afternoon. Then later at night, when the power goes out and the moon is full, it's time for Ate's ghost stories. Sigh, us kids back then...
Ah, but do bear with my digressions.
"Inang Yaya" (literally "Mother Nanny") is perhaps the best mainstream Filipino film made this year, if not the last few years, simply narrating an effective drama about - well - a "yaya" (an affectionate call for full-time baby sitters employed by most well-off families in the Philippines) who is also a mother. (But then again, the competition is composed mainly of perfunctory romantic comedies and horror films.) Maricel Soriano is Norma, a mother who cares so much for 7-year old Louise (Ericka Oreta). She feeds her, changes her clothes, fixes her things, plays with her... she loves her like a mother would to her child. Problem is, Louise ain't her daughter. She's the child of her employers Noel (Zoren Legaspi) and May (Sunshine Cruz), two white collar workers in an upper-class residential area somewhere in the metropolis (I'm guessing Alabang) and she's paid to look for their child while they work their tushies off for their family's financial stability.
Back in her home province, Norma's mother dies and her daughter Ruby (the impressive Tala Santos) is alone with no one to be left with. So Norma takes Ruby to her employers' house where her daughter is warmly welcomed by everyone except Louise's grandma (Liza Lorena). But no sooner than a bond among them has been formed than Louise's family has to migrate to Singapore. And Norma is faced with a choice of whether to go with the child she has since considered as one of her own, or stay with the one who shares her same blood.
Directed by Pablo Biglang-awa and Veronica Velasco (who also wrote the script), the film gives a clear sense of the filmmakers' humble intention to create a noble tribute to the people the film tries to portray. The narrative is pretty much straightforward but there is sincerity throughout. The cinematography, production design, and music all contribute to a lavishly directed film. Unfortunately, it feels as if the directors tend to overindulge on sentimentality on a few parts. Not that it's detrimental to the overall product (it's a tearjerker after all) but the subtlety done in most scenes show that it's when restraint is practiced that the film has more impact. But it's a minor quibble, actually.
And of course the acting. Soriano will probably be popping up on the lists of nominees for next year's oodles of local awarding bodies. Her understated portrayal of both a yaya and a mother is just brilliant and it's hard not to feel for her. Then there are those beloved young actresses who casually share an easy rapport with the Diamond Star, especially Santos who vividly exhibits the sullen insubordination of a precocious grade-schooler while easily projects vulnerability and pain when the occasion calls for it. In a way, she reminds me of young Korean actress Geun-yeong Mun in that her mere on-screen presence is enough for me to sympathize with her.
Ultimately, "Inang Yaya" is a finely crafted film with sincere performances that should do well with anyone who can establish a relationship between themselves and what the movie is trying to convey. I'll go tell that to Ate. For now, I'll just look back to the good old days. Eh... and yaya, you might want to bring Kleenex.
Ah, but do bear with my digressions.
"Inang Yaya" (literally "Mother Nanny") is perhaps the best mainstream Filipino film made this year, if not the last few years, simply narrating an effective drama about - well - a "yaya" (an affectionate call for full-time baby sitters employed by most well-off families in the Philippines) who is also a mother. (But then again, the competition is composed mainly of perfunctory romantic comedies and horror films.) Maricel Soriano is Norma, a mother who cares so much for 7-year old Louise (Ericka Oreta). She feeds her, changes her clothes, fixes her things, plays with her... she loves her like a mother would to her child. Problem is, Louise ain't her daughter. She's the child of her employers Noel (Zoren Legaspi) and May (Sunshine Cruz), two white collar workers in an upper-class residential area somewhere in the metropolis (I'm guessing Alabang) and she's paid to look for their child while they work their tushies off for their family's financial stability.
Back in her home province, Norma's mother dies and her daughter Ruby (the impressive Tala Santos) is alone with no one to be left with. So Norma takes Ruby to her employers' house where her daughter is warmly welcomed by everyone except Louise's grandma (Liza Lorena). But no sooner than a bond among them has been formed than Louise's family has to migrate to Singapore. And Norma is faced with a choice of whether to go with the child she has since considered as one of her own, or stay with the one who shares her same blood.
Directed by Pablo Biglang-awa and Veronica Velasco (who also wrote the script), the film gives a clear sense of the filmmakers' humble intention to create a noble tribute to the people the film tries to portray. The narrative is pretty much straightforward but there is sincerity throughout. The cinematography, production design, and music all contribute to a lavishly directed film. Unfortunately, it feels as if the directors tend to overindulge on sentimentality on a few parts. Not that it's detrimental to the overall product (it's a tearjerker after all) but the subtlety done in most scenes show that it's when restraint is practiced that the film has more impact. But it's a minor quibble, actually.
And of course the acting. Soriano will probably be popping up on the lists of nominees for next year's oodles of local awarding bodies. Her understated portrayal of both a yaya and a mother is just brilliant and it's hard not to feel for her. Then there are those beloved young actresses who casually share an easy rapport with the Diamond Star, especially Santos who vividly exhibits the sullen insubordination of a precocious grade-schooler while easily projects vulnerability and pain when the occasion calls for it. In a way, she reminds me of young Korean actress Geun-yeong Mun in that her mere on-screen presence is enough for me to sympathize with her.
Ultimately, "Inang Yaya" is a finely crafted film with sincere performances that should do well with anyone who can establish a relationship between themselves and what the movie is trying to convey. I'll go tell that to Ate. For now, I'll just look back to the good old days. Eh... and yaya, you might want to bring Kleenex.